Sunday, May 19, 2013
Currently: July 30, 2011: Weekend http://tmne.ws/d9YZF658 days ago
Listening • Bruno’s Torso
After signing to Sub Pop back in ’06, Brooklyn-based Death Vessel was expected to release something shortly after. Now, two years down the road, the label debut is slated for mid-August. The music, which calls to mind the Shins’ more stripped-down work, is folksy, droney, and twee, and the vocals, provided by songwriter Joel Thibodeau (yes, that’s a guy), are generally falsetto. It may not be your thing, but the expected album’s title prominently warns all comers that Nothing Is Precious Enough for Us, so don’t try and act all surprised. —Erik Bryan» Listen to “Bruno’s Torso” at Largehearted Boy
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Listening • Ghost Town (Pt. 1)
Only recently was I clued in to Parts & Labor, a Brooklyn-based noise-pop outfit playing at this summer’s Siren Festival at Coney Island. Luckily I heard about the group just in time to find out about member Dan Friel’s solo work, which is mostly instrumental noise pop. Linked is one of the title tracks from his first full-length album, Ghost Town, which came out a little over a week ago. The track begins with accidental-sounding ambient tones and bleeps, the seeming result of leaving too many effects processors and circuit-bent keyboards hooked up and looping over themselves. It meanders, then suddenly gives way to a poundingly poppy melody soaked in distortion and echo. The incidental music and exuberant, electronic pomp should sound comforting to anyone raised, as I was, on video games. —Erik Bryan» Listen to “Ghost Town (Pt. 1)” at Pop Tarts Suck Toasted
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Listening • Dr. Carter
At the tender age of 15, Lil Wayne was already becoming something of a trump card in Cash Money’s hand, and Wayne’s Hot Boys group produced some of the more popular singles from the label (cf. “We on Fire” and “Project Chick”). Ten years later, Lil Wayne has far eclipsed his Cash Money contemporaries and is being compared to rap’s greatest stars, living and dead. Though a Hot Boys reunion, reported late last year, has yet to materialize, last week Lil Wayne released his sixth official studio album, Carter III. On the track “Dr. Carter,” Wayne assumes a concerned bedside manner in order to casually and comically dress down the weak skills of his presumed competitors. The understated production (compliments of Swizz Beatz) matches Lil Wayne’s understated delivery and keeps his playful persona front and center. —Erik Bryan» Listen to “Dr. Carter” at Fluxblog
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Listening • White Winter Hymnal
Hailing from Seattle and signed to the cred-dispensing Sub Pop label, Fleet Foxes not only has a really cute name that’s fun to say, they have current and former members of such noteworthy indie groups as Crystal Skulls and Pedro the Lion. What’s better, they hate hippies. Which is a strange position to take considering how, well, acoustic and earthy their music sounds. Their song “White Winter Hymnal,” off their recently released self-titled album, sounds like a bunch of dudes who haven’t bathed in a while sitting around, making with the tunes. As the song moves through its harmonies, it gains a warmth and openness that melts all previous reference to a snowy winter. A wistful, almost lounge-y piano line closes the song, which, in addition to the beautiful cover art taken from Bruegel the Elder, proves Fleet Foxes are indeed a class act. —Erik Bryan» Listen to “White Winter Hymnal” at Pop Headwound
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Listening • Go for the Exit
After calling Guided by Voices quits just four short years ago, Bob Pollard, the quits-caller, has released about eight solo albums, plus various EPs and albums with side projects (e.g., the Takeovers, Keene Brothers, Circus Devils, etc.). To call him prolific is nearly an understatement, as it’s hard to imagine Pollard having time for anything but recording high-kicking, lo-fi rock ’n’ roll jams all day, every day. He’s recently—presumedly in the two weeks since his last solo album release—been working with a former GBV bandmate, Chris Slusarenko, and John Moen of the Decemberists, among others. The result, a group called Boston Spaceships, sounds like just about everything else Pollard’s ever been party to, so I like it. So do you. —Erik Bryan» Listen to “Go for the Exit” at Boston Spaceships’ MySpace
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Listening • Good Enough
I’m a sucker for a good cover, and this week’s honorable mention goes to the Acorn, a Canadian group that recently contributed a cover of Cyndi Lauper’s “Good Enough” for a Coke Machine Glow podcast. Their version softens Lauper’s already nonchalantly pop masterpiece, but the highly emotive lyrics are allowed to cut through, drained of their former cutesy posturing. I only now realize how great this song is. The Acorn is a pretty awesome group that is currently in the running for the Polaris Music Prize (sadly, not associated with Polaris, the band from The Adventures of Pete & Pete), which seems to be an award and a cash prize ($20,000!) that Canadians give to other Canadians because they appreciate how awesome they all are. Once again, America should be ashamed, if not jealous. —Erik Bryan» Listen to “Good Enough” at My Old Kentucky Blog
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Listening • Little Bit
What is with all the incredible Swedish music coming out lately? I mean, is it the longer winters? The sunlit nights of summer? The blondes everywhere? Whatever the cause, the Swedish Invasion is in full swing, and a recent addition to their roster is Lykke Li. Her first album, Youth Novels (produced by the Bjorn third of Peter Bjorn and John), came out in her homeland earlier this year, but has just this week been released in the U.K. and is scheduled for sale in the States later this summer. For months now she’s been featured on mix- and muxtapes galore, and rightly so. Songs like “Little Bit” showcase a bubblegum voice as strong as any Britney-wannabe we got, but lyrics and music that are far less stupid. —Erik Bryan» Listen to “Little Bit” at Rock Sellout
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Listening • Why Do You Let Me Stay Here?
Zooey Deschanel & M. Ward (or She & Him) have a good thing going, and they’ve just announced a summer tour to share it with the likes of us here on the East Coast. He is a well-accomplished singer/songwriter; she’s an indie film darling. Together they make beautiful music, strictly (as far as all accounts go) in the completely literal sense. Whereas some actresses who become singers come off as trying too hard, Deschanel manages to sound light and playful, unconcerned as to whether people are taking her seriously enough. Which is very refreshing, especially when M. Ward lays the ’60s-influenced pop on thick. If you do manage to see them play out this summer, just try not to do anything silly like falling in love with Zooey because I’d already planned on doing that. —Erik Bryan» Listen to “Why Do You Let Me Stay Here?” at The Yellow Stereo
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Listening • Gobbledigook
Non-English singing, orchestrally driven, howling, post-rock giants are rarely considered for the whole “hits of the summer” racket so inevitable in news media this time of year, but I think I’ve found one that should be. Sigur Rós’s new single “Gobbledigook,” from their forthcoming Með Suð í Eyrum Við Spilum Endalaust is just so fresh and energetic, it not only portends a new direction for a band that has always seemed content to stay the course of polished-yet-caterwauling noise, but it’s maybe the best song I’ve heard all June. This may not be saying much now, and it will undoubtedly get zero mainstream radio play, but I know what’s going to rock my socks this summer, and it sure as hell ain’t New Kids on the Block. —Erik Bryan» Listen to “Gobbledigook” at Dead Flowers
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